Developing a Pattern Language for Flow Experiences in Video Games

Developing a pattern language for flow experiences in video games Philippe Lemay, Ph.D Head of Game design graduate studies University of Montreal CP 6128 Succursale Centre-Ville, Montreal, QC, Canada, H3C 3J7 [email protected]

ABSTRACT a child book, a small-scale replica of a World War II plane, Pattern languages have gained widespread acceptance over or a cheaper computer for the masses. the years in the design and computing communities. Thanks to the seminal work of Bjork and Holopainen they also have Patterns abound in natural and artificial worlds. Sequences spread to the video game design community. In order to (of numbers, of letters), cycles (of days and nights, of help game designers grasp fundamental aspects of human seasons) processes (of industrial manufacturing, of experiences, the author is developing a new breed of pattern neurological transmissions), tendencies (of economical language: a pattern language for experience design, and in markets, of fashion), shapes (of cars, of trees) and particular, a pattern language for optimal experiences (or probabilities (of winning at the casino, of an earthquake in flow) in games. Mexico) are kinds of patterns found in nature. The objective of this endeavor is to elaborate a generative The multifaceted nature of patterns is also observable modeling tool that will help designers understand, analyze across literary sources. This polysemic concept is and elaborate better games by taking into account human considered as [13]: experiences and providing elements that will trigger and • a perceptual structure maintain the most positive and intense player experiences. The language presented here, following a dimensional • a customary way of operation or behavior model of experiences, describes patterns pertaining to the • a decorative or artistic work sensation, emotion, cognition, behavior and social domains. • something regarded as a normative example It can be applied to various types of games, should they be single player or not, online or not. • a model considered worthy of imitation • something intended as a guide for making something else Author Keywords All connotations refer somehow to the idea of a certain Pattern language; video games; experiences; experience amount of organization of elements, should they be design; flow, optimal experience; methodology perceptual (in lines, shapes, or physical elements), behavioral (doing things in a certain manner) or social (a shared, social recognized model). The recognition of a INTRODUCTION pattern often leads to use it as a guide, in order to perform Practitioners of many disciplines have attempted to derive certain actions (as a sewing pattern). the fundamental building blocks of their domain and tried to formulate the rules that bind these blocks together. Poets, Patterns have not just been recognized in the natural or built mathematicians, graphic artists, chefs, industrial designers world, but have also been used in several domains, such as and computer scientists, to name just a few, delved into this architecture [2], software design [6, 16], economy [14] and endeavor. more recently game design [4]. Its methodological development have mainly stemmed from the seminal work When Christopher Alexander [2] put forth his idea of a of Christopher Alexander and his colleagues. According to pattern language, although his work was originally applied Alexander, each "pattern describes a problem which occurs to architecture, his approach represented a lingua franca for over and over again in our environment, and then describes researchers and practitioners of various disciplines. By the core of the solution to that problem, in such a way that trying to define the basic constituents of a given field – thus you can use this solution a million times over, without ever codifying its fundamental knowledge – pattern languages doing it the same way twice." [2] allow to select, mix and match them to shape a poetic sentence, a south-east inspired recipe, a new illustration for

Situated Play, Proceedings of DiGRA 2007 Conference

449 Patterns in the interactive community The pattern language approach has its place among other user-centered methodologies [21, 7, 28] such as participatory designs, focus groups, task analysis, surveys, scenarios and system analysis. In software design and human computer interaction pattern languages enable designers to elaborate better interactive systems, by taking into account the human cognitive and behavioral intricacies, not just technical requirements. Pattern language projects include User interface design patterns [33, 5, 22], Patterns for speech dialogues for older adults [38], Pattern language for living communication [31], Visualization pattern Figure1. Four language [37] and Patterns for Groupware [17]. They each components of represent interesting attempts to codify knowledge in patterns in game different areas of the human-computer interaction. Some of design these projects target either specific contexts of interaction, particular populations, elements of interaction In the end the availability of patterns for experience design (communication) or interface (dialog boxes, progression will have positive consequences, following Tidwell’s bars and the likes). consequences of pattern languages [33]: Patterns in the game design community 1. gather knowledge of decades of psychological research In game design the most notable endeavor was done by into a coherent corpus; Björk and Holopainen [4]. Their pattern language focuses 2. share this corpus among designers originating from on gameplay, which they define as "the structure of player diverse backgrounds and even to wider non-initiated interaction with the game system and with the players in the audience; game" (ibid, p. 3). They structure their approach according to four fundamental components: the holistic, boundary, 3. continue and even increase the focus on players’ temporal and structural components. The holistic experiences in games; component is concerned with "the aspects of a game that 4. organize the efforts of the game design community are relevant when one looks upon the activity of playing towards the influences of the virtual world upon games as an undividable activity" (ibid, p. 9); included are experiences; items such as game instance, game session, play session and 5. allow designers to select, combine and test those building extra-game activities. Boundary components are "those that blocks in imaginative generative ways. limit the activities of people playing games", that is, those that allow or restrain the players’ activities (ibid, p. 14); THE FLOW OR OPTIMAL EXPERIENCE MODEL these items are rules, modes of play and goals. The third What do people experience when they engage in an component, temporal, is concerned with elements activity? Why do people do the things they do? How to describing the evolution and causality of the game; these study people’s inner feelings? Many psychological theories elements are the actions, events, closures, end conditions exist that provide (tentative) explanations to these questions, and evaluation function of the game. The fourth component, such as psycho-analysis, behavioral, cognitive theories, structural, deals with the "basic parts of the game being evolutionary and the likes. To explain and even predict manipulated by the players and the systems" (ibid, p. 23); subjective feelings is quite a daunting task, the many here are found the interface, game elements, players, game intricacies of the mind greatly complicating the inquiry. facilitator and game time items. Psychologist M. Csikszentmihalyi studied for more than 25 This language pattern is really impressive and surely years people’s experiences when they engage in different encompasses the wide variety of games found today. kinds of activities and context: in their daily life (at work, at However there is room for developing a complementary play), in many countries (including United States, Canada, language, one that specifically focuses on the experiential Italy and Norway) and with different populations (teenagers, aspects of the game. The resulting language may even be musicians, shepards). Research results constantly point to a included as a fifth component to Bjork’s and Holopainen’s convincing conclusion: activities that are the most intense language. The objective of our project is to develop a and pleasurable are the ones which involve focused generative, modeling tool that will help designers attention (largely because of clearly set goals) and understand, analyze and design better games by taking into challenging activities in balance with the person’s skills. account human experiences. Csikszentmihalyi labeled this particular state as flow or optimal experience, following comments of surveyed people who experienced this kind of state. Flow experiences

450 have been described as "... holistic sensation(s) that people Conditions and characteristics of flow feel when they act with total involvement" [10]. They are Associated with this flow experience is a number of given also called autotelic experiences" (auto=self and telic=goal), characteristics often encountered. Csikszentmihalyi [3] because they are pursued for their own sake, driven by self- subdivided them into two sets: characteristics of flow and directed goals and not external rewards. conditions of flow. Characteristics refer to the experiential nature of the flow phenomenon itself (i.e., what people "feel" while in this state). Conditions, on the other hand, are circumstances and environments that are assumed to be conducive to flow experiences.

Conditions of flow Clear goals An activity for which a goal is set in a clear and non-ambiguous way is a prerequisite for an optimal experience. It helps to focus attention on the necessary steps to achieve it and to discriminate between relevant and irrelevant information. Immediate feedback The person must receive feedback from its material and social environment in order to know if some progress is made towards the accomplishment of the goal. The clearer and more immediate the feedback, the better it helps to shape the course of action. Challenging activity matched with person’s skills The Figure 2. The model undertaken activity must represent a certain challenge to the of optimal person (as subjectively perceived) and must be balanced experiences with the person’s skills to deal with it. Too much challenge for the skills leads to an experience of anxiety and not Researches on the foundations of pleasurable experiences enough challenge for some skills induces boredom. have led Csikszentmihalyi to discover that two fundamental variables drive the type and intensity of experiences an Characteristics of flow individual feels during an activity: the level of perceived Intense concentration The pursuit of some clearly set challenge in the situation and the level of skills one can rely goals that challenge a person help him/her to gather the on to cope with it. According to the level and balance of necessary psychic energy to face it, thus leading to greater these two (subjectively evaluated) variables there are 9 concentration. As a result this concentration helps to focus experiences that can be felt – and predicted (figure 2): on the goal. apathy low challenge and low competence Merging of action and awareness The intense involvement in the activity generates an embedded cycle of worry average challenge and low competence perception and action, where the focused attention on the anxiety high challenge and low competence activity, the feedback from the environment and the management of the consequences all seamlessly blend relaxation low challenge and average competence together. neutral average challenge and average competence Paradox of control Participants of the studies reported that arousal high challenge and average competence when they reached the state of flow they felt both an incredible control on the activity and that they surrendered boredom low challenge and high competence themselves to the process. They felt both in control and out of control (without worrying about it). control average challenge and high competence Loss of self consciousness Concomitant with the paradox flow high challenge and high competence of control, people reported that their consciousness was Csikszentmihalyi [10] points out that,to experience flow, altered, blurring the line between the consciousness of their individuals’ challenges and skills must not only be in self and of their environment. They felt one with their balance, but also exceed levels that are typical for their surrounding. daily experiences. Flow is thus facilitated when challenges Altered sense of time In such an intense state time no and skills are in balance and above personal averages. longer seems to pass the way it usually does.It sometimes seems to shrink, sometimes to expand. Hours seems like minutes, and vice-versa.

451 FLOW IN GAMES games that generate and maintain optimal experiences for Among the various psychological aspects discussed in the their players. This paper summarizes the first steps gaming community, fun, pleasure and enjoyment are the undertaken to develop such language. foremost elements. They probably define what a game is [29, 19]. Different models and typologies have been It appears to be rather important to distinguish two suggested to describe them present in games [23, 18, 15]. approaches to patterns and experiences: patterns of Perhaps what is considered the most intense and pervasive experiences and patterns for experiences. The former refers experience is the optimal experience, or flow. to the perceptual recognition of particular ways of experiencing; it is mostly the concern of psychologists and Bernie de Koven [20] describes flow using the "Slanty related human scientists. The latter refers to how designers Line" principle, Jenova Chen explains how it is embedded could generate, maintain or transform particular in games [9] and how pervasive it is in games and other experiences; it mostly is the concern of industrial, graphical, interactive settings [8]. Even though games are often new media and of course game designers. thought as the paradigmatic situation for the flow experience, few empirical researches were conducted using In the design process both types of patterns come into play. the underlying model. Figure 4 shows their interrelatedness. Different kinds of experiences are first recognized and analyzed by human Sweetser and Wyeth [32] elaborated a questionnaire based scientists, which then will be described in patterns of on the flow model and used it to compare how two games experiences. fared on the market and linked their outcomes on their capacity to generate flow on the players, as evaluated by experts. More findings like these are welcome in order to ground the model with real-world data.

Figure 4. Patterns of/for experiences

Designers then try to elaborate systems that will trigger these experiences. Their resulting knowledge will then be codified in patterns for experiences. The resulting systems may induce various types of experiences, which in turn will be analyzed and described. The pattern language elaboration was undertaken by asking ourselves fundamental questions such as: what elements Figure 3. Five may help generate or maintain flow experiences? That is, dimensions of what patterns would be useful in creating the conditions of experiences flow and then maintain the characteristics associated with it. Conversely we ask ourselves questions the other way In our researches we analyze experiences using a around: what elements would hinder the emergence of flow dimensional model [30, 11, 34], which includes the experiences? By taking the opposite of the conditions of sensation, emotion, cognition, behavior and social aspects flow (fuzzy goals, delayed feedback and unbalanced (see figure 3). These dimensions are embedded in a challenges with respect to person’s skills), we may uncover thorough systemic framework [24, 26, 12]. These five elements that designers should examine in order to avoid dimensions encompass the variety of human experiences this kind of undesirable situation; these are called anti- and prove to be relevant to various design projects. patterns [36].

PATTERNS FOR FLOW EXPERIENCES The current pattern language for optimal experiences in It seems then appropriate to use both field of investigation, games is closely based on the characteristics of flow as pattern languages and the model of optimal experiences, described by Csikszentmihalyi. These characteristics are and try to integrate them in to a coherent framework. The mostly related to the sensation, cognition and behavior targeted outcome is the laying out of foundations that would dimensions, so are the first patterns to be described. The provide guidelines for designing intensely pleasurable emotional dimension includes the four types of fun discussed by Lazarro [23], because of its relevance to a

452 general model of experience in games. But more thoughts challenge must be high enough to really engage the player have to be given in order to analyze the link between the and immerse him/her in the game. emotional dimension and the flow experience in games. solution A monitoring widget that continuously matches Sensation Appropriate sensory channel; Right amount of the level of challenge presented to the player, balanced stimulation; Appealing interface; Perceptible feedback; according to his/her level of competence to cope with it. Sensory overload; Adequate physical interface; A forces affecting the problem Information overload and responsive system; over-stimulation; distraction that diverts attention and break Emotion Hard fun; Easy fun; Altered states; People fun; concentration; assessment of levels of challenge and skills; learning competence of the individual. Cognition Clear system functioning; Player’s goal identification; System state representation; Non-disruptive examples A video game is the archetypal example of this interface; Adapted level of challenge; Path to more situation: when a player starts to play a game there might be challenges; a level of worry or slight anxiety because s/he has not all the necessary skills to play the games (does not know what Behavior Challenging tasks balanced with appropriate to do, what are the controls, how to reach the next level of skills; Ease of use; Supportive and participative the game, etc). Then getting more familiar with the game environment; makes the player more competent, which makes him/her Social Shared goals; Cues for coopetition; Place for feel greater control. But as soon as the reactions get better competition; Place for cooperation; Known norms; Fuzzy (more competence) challenges also increase according to identity; Clear channels of communication his/her skills. Flow may then arises when these two variables are high and well-balanced. If challenges fail to We now briefly present some of the patterns included in our rise to the player’s level, boredom will prevail and the pattern language for optimal experiences. We follow player will quit the game with a feeling of dissatisfaction. Alexander’s template (alexandrian form) for presenting patterns, describing the pattern’s name, problem statement, Pattern example 2 context, solution, forces affecting the problem and pattern name Path to more challenges examples. It allows to understand the situation at stake and present available solutions to cope with it, enabling both problem statement Playing a game may lead to a analytical and pragmatical perspective in a condensed phenomenon of habituation after a certain amount of time, framework. where the player has learned how the game works and where his skills are no longer stimulated at his optimal level. Patterns in these languages are deeply interwoven and form This may lead to an experience of boredom. a densely interconnected network, having particular relationships with each others [2, 4]. A particular pattern context In any situation where a player is faced with some may be hierarchically connected (either at a superior, stimuli that fall below his/her level of competence. The identical or inferior level), modulating or modulated by, or level of perceived challenge is not enough to really engage conflicting with another pattern. As the complete collection the player and immerse him/her in the game. of patterns is still under investigation the exact network of solution Suggesting players some paths towards other tasks interconnections will be presented later on. of greater challenge. This may include complexifying the procedures to attain goals (as in certain games), to reduce Pattern example 1 the amount of time to perform the task or suggesting similar pattern name Challenging tasks balanced with appropriate but more difficult tasks or quests. skills forces affecting the problem Goal identification; adequate problem statement The level of challenge that a player level of stimulation; skills assessment; learning capabilities; perceives during a game is a crucial variable that modulates sensory overload; challenge staging; tasks integration. his/her experience of the situation. If too much challenge is perceived in the situation while s/he does not have enough examples Most games should be eloquent examples of this competence to face it, the person is likely to experience pattern, where levels of increasing difficulties are proposed some anxiety. On the opposite if s/he does not perceive to keep the players in the game. Civilisation, Oblivion and enough challenge while s/he is very competent to cope with World of Warcraft offer settings where players can face it, s/he is likely to feel some kind of boredom. Providing an more fierce opponents, different regions that increase adequate (balanced and high enough) level of challenge to chances of encounters with other players, thus allowing meet the level of the player’s skills is therefore a more challenging exchanges and battles. prerequisite for a pleasurable and intense experience. context In any situation where some action is taking place, a player is faced with some stimuli that match – or not – his/her level of competence. The level of perceived

453 CONCLUSION AND PERSPECTIVES Pattern example3 What we have shown here is the outline that shapes the pattern name Feedback from the environment elaboration of a complete pattern language that will help problem statement To gauge the effects of one’s behavior, game designers take into account essential aspects for s/he must receive information from the environment related creating and maintaining optimal experiences in games. to the outcome of his/her actions. Failure to provide This fruitful approach for understanding and designing adequate feedback (in terms of timing and intensity) may experiences – better experiences – is still in its infancy and generate a sense of disorientation to the player. other major investments are still necessary at both the conceptual and operational levels. First the corpus must be context For most tasks performed by a player, whatever the extended to include all facets and dimensions of the flow type of games. Depending on the type, the speed and timing model. Then it must be validated in order to test its depth, of feedback may be more important, but its presence is breadth and relevance. And it must be put into practice always mandatory. throughout concrete design projects. Fortunately the solution Ideally it would be necessary to know the player challenging tasks that we see ahead trigger enormous and its favorite/most efficient information processes. amount of flow in us. forces affecting the problem The timing of the feedback; REFERENCES the type of information and the sensory channel 1. Jeremy Parish (1up website). Doom XBOX 360 review transmitting the feedback; the complexity of the index.http://www.1up.com/do/reviewpage?cid=3154286, information; the information saturation of the environment. 2007. [Online; accessed 16-Jun-2007]. examples All games provide some sort of feedback, should 2. Christopher Alexander, S. Ishikawa, and M. Silverstein. it be visual, auditory or kinesthetic, should it be on the A Pattern Language, volume 2 of Center for Environmental screen or on the controller. It ranges from a nonverbal Structure Series. Oxford University Press, New York, NY, (wordless) interface such as Ubisoft’s King Kong to an 1977. densely packed interface on Blizzard’s World of Warcraft and other MMORPGs. 3. Judith Voelkl and Gary Ellis and Joseph Walker. Go with the flow: how to help people have optimal recreation Pattern example4 experiences - research update. Parks & Recreation, August pattern name A responsive system 2003. problem statement The success of games crucially 4. Staffan Björk and Jussi Holopainen. Patterns in game depends on the fine tuning of hardware performance. It is of design. Charles River Media, Hingham, MA, 2005. course easier to achieve on consoles than on PC computers 5. Jan Borchers. hcipatterns.org. http://hcipatterns.org, 2004. where developers have less control on the players’ available computing resources. The physical system, through its 6. Frank Buschmann, Regine Meunier, Hans Rohnert, Peter interface, channels of communication (network) and the Sommerlad, and Michael Stal. Pattern-Oriented Software likes must be prompt enough to respond to players’ input. Architecture, A System of Patterns. John Wiley & Sons Ltd, Failure to deliver constant and immediate feedback is likely Chichester, England, 1996. to slow down the perception-action cycle, leading to a break 7. John M. Carroll. Making use: scenario-based design of of concentration and provoking a sense of disorientation. human-computer interactions. MIT Press, Cambridge, MA, context In almost all games played, specially those which 2000. are more action driven. 8. Jenova Chen. Flow in games (and everything else). solution Determining the relevant information that needs to Commun. ACM, 50(4):31–34, 2007. be given as feedback to the players and measuring the 9. Jenova Chen. Welcome to flow in games. typical response time of the system and matching it with the http://jenovachen.com/flowingames/designfig.htm, 2007. players’ input. [Online; accessed Jan-2007]. forces affecting the problem The timing of the feedback; 10. Mihalyi Csikszentmihalyi. Optimal experience: the type of information and the sensory channel Psychological studies of flow in consciousness. Cambridge transmitting the feedback; the complexity of the University Press, New York, 1988. information; the information saturation of the environment. 11. Robert Dantzer. Les émotions. Presses Universitaires de examples The online version of Doom on Microsoft’s France, Paris, 1994. Xbox Live Arcade is said to lag a lot and frustrates many people, thus earning bad reviews[1], while TOCA Race 12. Joël de Rosnay. Le macroscope. Vers une vision globale. Driver is seen to have almost no such effect in its online Seuil, Paris, 1975. mode [27]. The latter game is likely to produce more flow than the former.

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